Synthesizers: The Science and History of Technology in Music

 Matthew Hale, Verrazzano Class of 2026, completed a major in Music Technology and a minor in Dramatic Arts

My work with Prof. Carlos Delgado focused on what goes into creating a functioning synthesizer and a sequencer. At the start of this project, Prof. Delgado had me read up on the extensive history of technological innovation in the field of music. Over the course of this study, I gained a better understanding of the steps taken to create what we use in today’s music, from the earliest instances of electricity in music to the technology found in the music of David Bowie and Pink Floyd. Through hands-on work, I learned the different components of a synthesizer. As the building process of the synthesizer went on, the more I learned, starting with the oscillators that create the waveforms, then the filters that carve away at the waveforms to shape your sounds, then the amplifiers that shape the volume throughout the sound,  and finally the Low Frequency Oscillators that shape the sound further with frequencies that are lower than the range of human hearing. The sequencer works hand-in-hand with the synthesizer, creating patterns using a string of notes that sends data to the synthesizer.

I knew I wanted to do my capstone project about music technology. However, I didn’t realize I wanted to focus on synthesizers and sequencers until I started working with Max/MSP in Prof. Isidore Ramkissoon’s class. The following semester, I started Prof. Carlos Delgado’s class, where the area of focus is entirely up to me. He mentioned programming my own synthesizer, and I was hooked immediately. Because I am currently enrolled in my mentor’s class, the workflow was a little unorthodox. I was expecting to need to dedicate time outside my classes to work on this project, but I was able to complete a good majority of it during my class time. Programming the synthesizer definitely had its difficult moments. Specifically, working with many tiny, intricate parts led to several issues that required extensive trial and error to resolve. Remembering what each component does was also a bit tricky, given all the moving parts. One aspect that surprised me, however, was the research on history. I was not expecting to find traces of electronic music dating back to the mid-18th century. Moving on from this project, I would like to further experiment with updating my synthesizer, adding new components, and experimenting with ones already in it. I would also like to delve deeper into early-20th-century innovations because they seemed the most experimental and “out there.” From this experience, I have gained a newfound appreciation for electronic music and a better understanding of the programs I have been working with on my own time.

Creating a Sound Palette for Short Film "The Warmest Weather"

 Anna Mengani, Verrazzano Class of 2022, completed major in Music Technology with minors in Spanish and Psychology 

 

The capstone film-scoring project I worked on had a-lot to do with perspective. When first coming up with the sound palette for the short film: “The Warmest Weather,” I re-watched the short film multiple times in order to really take in the story.

The story began with a girl who was lost, clearly stranded, and going through a difficult situation. Suddenly, a man appeared. He seemed to want to help, but there was a sense of some underlying motives. Why did he invite her to his home only a few minutes after finding her on the street? Most people would not invite a stranger into their home, let alone accept an offer to go into a stranger’s home. Was it because he appeared friendly and harmless that it was deemed okay? Did he take advantage of a women in a bad situation? There were a ton of questions that could be asked only a few minutes into the short film, but they were huge questions for me going into the project. I needed to compose music that amplified my interpretation of the story, and the character’s perspectives.

Further into the short film, there were scenes that depicted body dysmorphia from the lead female character Rachel, from the scratching of her neck, discomfort looking in the mirror, excessive exercising, and more symbolisms. Many of the topics explored were in the perspective of the Rachel, so I decided to score that way.

The music had underlying feelings of loneliness, confusion, frustration, and emptiness, but lingering hope in some scenes with sparkling effects. In order to advance the sound palette, I referred to media with similar concepts such as In the Earth, The Neon Demon, and Blood Machines. Many of the sounds I loved using were drones, synthesizers, and anything mechanical or hollow sounding.

The creative process took a lot of dissecting scene-by-scene, focusing on mood, intentions, and realistically putting myself mentally in the shoes of Rachel to take the most accurate approach of how I would feel or think in her situation. I was able to jot down and brainstorm about many aspects of the project, and most of all I had fun coming up with ideas for how certain scenes should sound and which sounds would go with that character. The capstone experience allowed me to utilize my knowledge of cinema/media and expand on my production skills as a music technology student. It also allowed me to be creative and go outside of my comfort zone as a musician.